A PARADIGM FOR KEMETIC ARCHITECTURAL DESIGN: THE BEGINNINGS OF A KEMETIC ARCHITECTURAL DESIGN LANGUAGE by James Preston Riley, Jr. Bachelor of Architecture Hampton University May 1994 Submitted to the Department of Architecture on May 10, 1996 in partial fulfillment of the requirements for the Degree of Master of Science in Architectural Studies at the Massachusetts Institute of Technology June 1996 ©1996 James Preston Riley, Jr. All rights reserved The author hereby grants M.I.T. permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author J mes'Presto# Riey,/Jr. Pepartment of/ hitecture Iav 10. 1996 Certified by William L. Porter Norman B. and Murial Leventhal Professor of Architecture and Planning Thesis Supervisor Accepted by Roy Strickland Associate Professor of Architecture Chairman, Department Committee on Graduate Students JUJL 1D 1996 UBRAR!E 2 Thesis Readers Nasser Rabbat Associate Professor of the History of Architecture Aga Khan Development Professor in the History of Islamic Architecture Simon Wiltz Associate Professor of Architecture Prarie View Agriculture and Mechanical University Prarie View, Texas A Paradigm for Kemetic Architectural Design: The Beginnings of a Kemetic Architectural Design Language by James Preston Riley, Jr. Submitted to the Department of Architecture on May 10, 1995 in partial fulfillment of the requirements for the Degree Master of Science in Architectural Studies ABSTRACT Kemetic [Egyptian] architecture is highly recognizable. In particular, there was a distinct monumentality to its religious architecture. As well, familiar design characteristics permeated many of them. These edifices continue to be a source of discussion and debate. Opposing interpretations range in opinion; from traditional and conservative to embedded with scientific and mathematical knowledge. In this thesis, I investigate one facet of the Kemetic architectural tradition. I will first define tradition and architectural tradition. Second, I will identify the main themes. They include the Kemetic architectural continuity; the Kemetic architectural design principle; and, the determinants of the architectural design principle. The themes assist in further understanding underlying components of Kemetic architecture. To demonstrate these points, the Kemetic temple plan is used as a reference point for discussion. In the conclusion, it is my intention to bridge opposing areas of discussion to enhance them and advance the comprehension of Kemetic architecture. Thesis Supervisor: William L. Porter Title: Norman B. And Murial Leventhal Professor of Architecture and Planning 4 Acknowledgments Asante Sana [thank you] to the Creator and Ancestors for your guidance, enlightenment and inspiration. Your perseverance, resilience, struggle and sacrifice will forever be venerated. I am your child and I owe you my existence. Asante Sana to my family: especially my mother, Brenda Riley; my father, James Riley; my sisters, Kathy Riley and Sharon Scott; and my brother-in-law, Daran Scott. You all paved a road that made my travel passable. My accomplishments are do to your continued love, nurture and support. I am the summation of your combined efforts and will forever be indebted to you. Asante Sana to my extended family, the Black Graduate Student Association at M.I.T. You all have been the safe haven needed to survive in a hostile environment. I could not have completed my journey through this institution without you. Your friendships are cherished. Asante Sana to the Graduate Education Office. Especially Dean Issac Colbert and Dean Margaret Tyler. In addition, Asante Sana to Dean Ayida Mthembu. Your words of wisdom and advice contributed to my acclimation to M.I.T. and educational development. Asante Sana to Nadine Champagne, Cheryl Taylor, Sheron Johnson, Mignon Lawson, Deirdre Lawrence, and Robbin Chapman. Your friendships and words of encouragement enhance my life. Asante Sana to Larry Sass, Greg Anderson, Sean Daughtry, Steve Murphy, Kimani Stancil and Michael Berhan. Your brotherhood is appreciated and I love you for it. Asante Sana to my readers, Nasser Rabbat and Simon Wiltz; and my advisor, Bill Porter. Your assistance and guidance allowed the completion of this thesis. Last, I dedicate this thesis to my grandmothers, Zelma Jenkins and Flora Bell Riley. You were the source to my earth and seed. Your transcendence to the Ancestral Realm left a void in my life that will never be filled. You will always be remembered and loved. 6 Table of Contents Abstract Acknowledgments Table of Contents Table of Figures Preface Chapter 1 The Introduction 15 1.0 Thesis Introduction 15 1.1 Kemetic Architecture 16 1.2 The Premise 20 1.3 The Temple 21 Chapter 2 Architectural Research 23 2.0 Introduction 23 2.1 Kemetic Architectural Tradition 23 2.2 The Architectural Continuity 28 2.3 The Architectural Design Principles 38 Chapter 3 Conclusion 51 3.0 Introduction 51 3.1 Analysis 51 3.2 Conclusions 52 Endnotes 55 Bibliography 59 8 Table of Figures Figure i Map of Ancient Kemet 13 Chapter 2 23 Figure 2.1 Predynastic Burial Graves 26 Figure 2.2 Early Dynastic Burial Tombs 26 Figure 2.3 Mastaba Tombs 26 Figure 2.4 Mastaba of Ptahotep at Saqqara 27 Figure 2.5 Typical Armana Villa Plan 1364-1350 B.C.E. 27 Figure 2.6 Land House 21st Century B.C.E. 28 Figure 2.7 Amarna Villa 28 Figure 2.8 View of Step Pyramid at Saqqara 29 Figure 2.9 Step Pyramid Complex [oblique view] 29 Figure 2.10 Pyramids of Khufu and Khafre at Ghiza 30 Figure 2.11 Mortuary Temple of Khafre at Ghiza 30 Figure 2.12 View of the Temple of Mentuhotep at Deir el Bahari 30 Figure 2.13 Plan of the Temple of Mentuhotep at Deir el Bahari 31 Figure 2.14 View of the Temples of Hatshepsut and Mentuhotep 31 Figure 2.15 Plan of the Temple of Hatshepsut at Deir el Bahari 31 Figure 2.16 View of the Temple of Amon at Luxor 32 Figure 2.17 Main Constructions of the Luxor Temple 32 Figure 2.18 Plan of the Temple of Amon at Luxor 32 Figure 2.19 View of the Temple of Amon at Karnak 33 Figure 2.20 Plan of the Temple of Amon at Karnak 34 Figure 2.21 Initial Main Construction of Amon Temple at Karnak 35 Figure 2.22 Third Main Construction of Amon Temple 35 Figure 2.23 Sixth Main Construction of Amon Temple 35 Figure 2.24 View of the Temple of Ramses II at Abu Simbel 36 Figure 2.25 Plan of the Temple of Ramses II at Abu Simbel 37 Figure 2.26 Plan of the Temple of Heru at Edfu 37 Figure 2.27 View of Interior Front Pylon at Edfu 38 Figure 2.28 Plan of Early Dynastic House 39 Figure 2.29 View of Early Dynastic House 40 Figure 2.30 Plan of the Temple of Amon at Luxor 41 10 Figure 2.31 Superimposed Plan of Luxor over Ramses II 46 Figure 2.32 Superimposed Plan of Luxor over Skeletal Frame 47 Figure 2.33 Ceiling of Subsidiary Shrine in the Temple of Hatshepsut 47 Figure 2.34 Clerestory of the Hypostyle Hall at Karnak 48 Figure 2.35 Column Capitals 49 Figure 2.36 Section of the Temple of Ramses II at Abu Simbel 50 Preface Our way, the way, is not a random path. Our way begins from coherent understanding.It is a way that aims at preserving knowledge of who we are, knowledge of the best way we have found to relate each to each, each to all, ourselves to other peoples, all to our surroundings.If our individual lives have a worthwhile aim, that aim should be a purpose inseparablefrom the way. Ayi Kwei Armah' My interest in Kemet, the original name of Egypt, stemmed from my interest to learn about my history and culture. As an undergraduate student, I began to read numerous books concerning African and African-American history. I felt the need to immerse myself in the richness of my heritage. I deemed it imperative to have an understanding of where and who I came from. If I did not have knowledge of self, then I did not have a complete understanding of myself, for, I am the product of my ancestors. While investigating my culture, I became encouraged to apply it to my chosen field of study, architecture. Around the period of my fourth year [1992], I became exposed to what was called "Afrocentric Architecture." Afrocentricity is the belief in the centrality of Africans. It is African history, African mythology, African creative motif, and African ethos exemplifying African's creative will. It reorganizes African's frame of reference so that we become the center of analysis and synthesis. Afrocentric Architecture is the method of manifesting architecture of African origins.2 It is the general foundation for the investigation of more specific areas of study concerning African and African-American architectural design; including historical and contemporary design. For the first time, I had been exposed to architecture from a perspective of African-centeredness. It opened my eyes to a new world waiting for further research and investigation. 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